Muse Album: “Black Holes and Revelations”

It's always a troubling issue when your "new favorite band" changes their sound. However, this issue is much less troubling than the potential release of carbon copy work based on the tunes that initially endeared them to you. Whether a band can navigate this delicate issue is a testament to their talent and vision. For example, Oasis was never able to recover from the sonic delicatessen that was "What's the Story, Morning Glory?" and despite the greatness of that album, their fame ended up being of the infamous "fifteen-minute" variety. On "Black Holes and Revelations," Muse's made a decisive yet subtle sonic shift, and one that is not as pervasive as some critics would have you think.

Thanks to reviews, I had mentally prepared myself for this possible shift in Muse's sound long before I bought the album. I expected the worst, but in the end, "Black Holes and Revelations" hardly turned out to be the major change of direction that some critics have made it out to be. Admittedly, there is a little more use of the "studio as an instrument," which challenges the "liveness" of the album. "Black Holes" prominently features trumpets, orchestras, and drum machines that confront my visualization of Muse's ability to reproduce these songs in a "power trio" format.

However, this initially unfounded criticism quickly gave way to the indisputable fact of the raw talent and vision of Muse as a whole. The songs on "Black Holes and Revelations" exude the same raw intensity and passion that "Absolution" exhibited. While there is a little more "studio" window dressing, the voices of the musicians in the group are strong and confident. The compelling mix of Jeff Buckley, Radiohead, and Rush that I perceived on "Absolution" is still perceptible, sometimes additionally tempered by a little Prince, Beck, and maybe even more recent work by Adrian Belew.

Admittedly, I get a personal kick out of comparing Rush to Muse, since there really aren't many bands that I can in indulge in doing so. In all honesty, "Rush-ness" is just a small component of their sound, but one that is an old friend of mine. In the case of "Black Holes and Revelations," this element of their sound brings to mind "Power Windows," when Rush began to fully integrate the synthetic nature of the studio in their sound. This perception is undoubtedly influenced by Muse's use of subjectively inspirational text and orchestral sounds on my personal fav "City of Delusion," a tune that reminds me strongly (and nostalgically) of Rush's "Marathon." However, I would stop short of saying that this influence is direct.

The Lowdown: I can't seem to take "Black Holes and Revelations" out of my CD player, no matter how many times I spin it. While it may be a little more overtly political in its lyric approach than its predecessor, it is still a musically strong and relevant statement. It may not quite beat out "Absolution" as my favorite Muse album, but I somehow would feel wrong if I gave it any less than five stars. In fact, it may be my personal "album of the year," a title that is only contested by Mew's "And the Glass Handed Kites," an album that Muse's fans will most likely dig.

Finallly got this one the other day and have been listening ever since. I worked myself into a frenzy by waiting a month before I actually bought it, in the meantime listening to Supermassive Black Hole only and reading countless reviews (but never listening to samples).

While I was not immediately blown away when I finally hit 'play' for the first time, I was very impressed with their musical direction. This is not Absolution pt. 2 just as that album was vastly different from both Origins Of Symmetry and Showbiz. The attitude is the same, however, and the feeling I get from listening is similar. This ability to significantly shift musical styles yet still retain the quality is an aspect to Muse's music I enjoy, and where I actually think they most closely resemble Radiohead.

Speaking of Radiohead, this should be the album that finally breaks Muse free of the constant 'sounds-like-Radiohead' criticisms... though they might be replaced by 'sounds-like-Queen' ones (which was always there, albeit more in the background). The genuine way these guys embrace the dramatic has certainly not been seen since Queen, and having the guts to take what many bands would consider huge aesthetic risks actually works significantly to their benefit.

On their new album, they manage to merge synth-pop, progressive rock, metal, flamenco guitar, classical piano, and operatic vocals into a set that is completely cohesive. It also has that 'album' quality where, listened to from start to finish, the whole is greater than the sum of its parts. There are a few tracks I don't think hold up that well individually, but manage to work within the context of the album. The tracks are as follows:

1. TAKE A BOW

This recalls Absolution's opening track, Apocalypse Please, in feeling and is built around similar synthetic arpeggios. Halfway through, it breaks into a dramatic rocker warning our leaders of dramatic things like "burning in Hell for crimes against the Earth". This track will carry you away all by itself, but is even more effective as the blasting-off-vessel that begins the ride through this album. So begins the space opera. 9/10

2. STARLIGHT

This begins the ride through space, and the view is awe-inspiringly beautiful. This track seems most like a synth-pop song on the album... very melodious and simple synth and piano, heartfelt lyrics, and a nice balance in the other instruments. Probably the most controlled song on the album, yet it still feels fresh and original. 10/10

3. SUPERMASSIVE BLACK HOLE

A little controversial among fans. When I first heard it, I double-checked whether I downloaded the right track. Yep, this was Muse. I was confused, disturbed, intrigued, and finally downright impressed. This is catchy as hell, and makes a good single. On the album, it actually feels appropriate in its spot. Lyrically, it seems to be the dark turn of events hoped against in Starlight. It feels the same musically. Darkness rearing its ugly head in all its pop-trash glory. 9/10

4. MAP OF THE PROBLEMATIQUE

The album begins to feel like a relentless assault on all the right buttons at this point. This track begins with a synth and guitar combination that recalls Enjoy The Silence. It's just enough to produce those same pleasant endorphins as Violator-era Depeche Mode without sounding like a ripoff. The song drives on in another direction anyway. Lyrically, it feels like the close of the trilogy that began with Starlight. Hope turns to Anger turns to Despair. It's dark stuff. I love it. 10/10

5. SOLDIER'S POEM

We get our first breather of the journey for a song that seems to be from the point of view of a dissenting soldier. It holds up well with other slow and melodic Muse songs, and adds some very Queen-like vocal harmonies. It's a little too short, and is one of those songs that doesn't hold up as well on its own, but fits in nicely within the album. 7.5/10

6. INVINCIBLE

This begins a trio of songs that, while not bad, do not have the freshness in ideas that elevate the rest of the album. It seems every Muse album has this section for me. All the songs usually win me over in the end, but this is my current least-favorite. It ends with a very cool riff, but until then has an anthemic feel that does not dodge the "cheesy" moniker as deftly as the rest of the songs do. It will grow on me. 6/10

7. ASSASSIN

Didn't care for it on the first listen... it's the hardest of the bunch. It's the first time I feel assaulted in an unpleasant way. I can't remember which time through the album it was, but this song finally clicked for me. It's supposed to be a little unpleasant. It's a call to arms. I'm not ready to join yet, but I can see the appeal. Could become a favorite in time, but right now it feels like it's missing something. Maybe another unique synth arrangement would help it, but I can't help thinking what's really missing right now is time and repeated listening. 7/10

8. EXO-POLITICS

Interesting song about Alien Mind Control by "Zetas In The Sky" that is really about the way that people allow the government to think for them. The result is the same. The song unfortunately feels like something that would have been a weak track on OK Computer. Musically it is competent but like the previous two tracks is bereft of the ideas that elevate the rest of this album. 7/10

9. CITY OF DELUSION

I was initially disturbed. Flamenco guitar? I realized from my experience with Supermassive Black Hole that disturbed feelings were probably a good sign so I decided to trust the band here. Glad I did because this song really brings me back into the album. It feels like an exciting and new journey again as the flamenco gives way to driving rock, and then folds the Spanish-sounding influences back in again. 8/10

10. HOODOO

Cannot understand the negative opinions I've read on this one. It beautifully blends all the different settings on the Muse-ship with the Spanish guitar of City Of Delusion and the best classical piano on the album. I don't miss the piano in the rest of the album until I hear it used so well here. Perhaps more piano could have added life to a couple of the middle tracks. This is the perfect precursor to the final epic space battle. There is much foreboding. Probably also better on the album than it would be on its own, but still... 9/10

11. KNIGHTS OF CYDONIA

This is it. One for all the marbles. And Muse wins them. Another reviewer pointed out that this song has no vocals for over two minutes. You barely notice among the horses, lasers, and just plain exciting music. I almost didn't even notice the vocals start as they are folded in just like another instrument. Then, the song breaks into a dramatic rock spectacle with three part harmony. "No One's Gonna Take Me Alive / And You And I Must Fight For Our Rights / You And I Must Fight To Survive" I believe it. I want to sing with them. I want to join their fight. I think maybe I am being overcome at this point. Then it rocks out. I almost wanted one MORE shift for the song to continue, but maybe I'm asking too much. It's already 10/10.

12. GLORIOUS

Some of you will end your journey with the final battle and miss the Glorious celebration afterward. If you feel robbed like I did, you'll go download this track so you can join the party. I've only seen it offered on iTunes as part of the album (you can't get it as a single song). Some feel Knights is the appropriate end to the album, and going out on a high note has its appeal, but I feel like this ties it up better. I haven't listened to it as much as the other tracks yet, but it is definitely worth seeking out to complete the listening experience. 8/10

The album is nearly perfect, only marred by an ever-so-slightly saggy middle that is actually pretty darn good as well. I thought nothing could beat Thom Yorke this year, but I think this is my new frontrunner for Album Of The Year. Time will tell which one holds up better. I began this review thinking I would end it by saying "Black Holes And Revelations" is a close second to "Absolution" and a worthy addition to the Muse catalog. However, I've listened a couple more times while writing this review. It's their best. Buy it if you love music.

Joel

come on, people...face it. radiohead? they could never do this music. too complex...too powerful. radiohead is a stoner band...drifting...all about feel and pulse... muse is very different. they are consumate musicians and the precision here is absolutely stunning.

Muse always impresses me. This is some of the most original, creative rock music out there on the scene today. Matt Bellamy is one of the most talented vocalists on the modern rock scene right now. He uses so many timbres and textures with his voice. The music pulls from so many different influences. While there are obvious touches of Radiohead in the music, the songs rock a lot harder than Radiohead ever does. You can hear influences of classical, latin, classic rock and industrial/techno styles. The result is an amazing product with something huge to offer.

The music is incredibly dynamic. The opening track, "Take a Bow" builds to an incredible apex of sound. The music is tinged with electronic garneshes of color. The thick arrangements are so well put together and every instrument fits into a beatiful picture. There are many great moments on this album, like the explosive drumming on "Assassin," the latin-esque trumpeting and acoustic guitar in "City of Delusion," the stunning piano work on "Hoodoo," and the breathtaking overdubbed harmonies in the epic closing track "Knights of Cydonia."

This album is quite amazing. A wonderful addition to Muse's diverse catalog of exciting music.

Buy this album. It's great. Muse fans will love it.

My real point here: OK Computer came out almost 10 years ago and that's the last Radiohead album Muse sounded like. Stop comparing every UK rock band with a moody tenor vocalist to Radiohead. Please?